Music Theatre Syllabus

Transcription

1 London College of Music Examinations Music Theatre Syllabus Qualification specifications for: Steps, Grades, Performance Awards, Performance Diplomas and Duet Exams Valid from:

2 2018 University of West London v

3 Contents 1. Information and general guidelines 1.1 Introduction Syllabus validity Changes to the syllabus Exam entry Exam durations Assessment and results Exams regulations 5 2. Exam guidance 2.1 Repertoire and programme planning The presentation of the performance Costume and props Written programmes Spoken libretto (Grades 7 8 and diplomas) Practical advice 9 3. Summary of exam structure 3.1 Step and graded exams Performance diplomas (DipLCM, ALCM, LLCM) FLCM in Performance Performance awards Duet examinations Grade descriptions Step and graded exams: requirements Step and graded exams: assessment 6.1 Assessment domains How marks are awarded Attainment band descriptions by examination component Performance diplomas: requirements Attainment descriptions 8.1 Step and graded exams Performance diplomas (DipLCM, ALCM, LLCM) FLCM in Performance Regulated qualifications 9.1 Regulated qualification information RQF levels UCAS tariff points Progression List of suggested repertoire 46

4 1. Information and general guidelines 1.1 Introduction London College of Music Examinations (LCME) External examinations have been awarded by the London College of Music since the institution s founding in Today, examinations are held throughout the United Kingdom, Republic of Ireland and at many overseas centres; they are unique in the graded examinations sector in being awarded by a university, ensuring the added quality assurance of the University of West London (UWL), who is the issuer of certificates. Graded and diploma exams in most subjects are regulated by Ofqual and other UK regulators. Candidates applying to UK universities through the UCAS system are eligible to claim UCAS points if they achieve a pass or higher at Grades 6 to 8 in a regulated subject. What makes LCM Examinations distinctive LCME s graded and diploma qualifications make a distinctive contribution to education in music, drama and communication, because of the emphasis placed upon: creative thinking an encouragement to think technically and critically about the repertoire performed, and the opportunity to communicate this in practical examinations a distinctively broad stylistic range of tasks and repertoire, with a strong emphasis towards the acquisition and demonstration of skills and understandings that are of contemporary relevance to the performing arts the provision of assessment in areas not traditionally included within the scope of graded examinations the provision of flexible examination formats and arrangements Syllabus objectives The aim of this syllabus is to promote and encourage knowledge, enjoyment and experience of musical theatre, and to foster a commitment to the development of the various skills, techniques and disciplines demanded by the genre. A candidate who progresses through the grades to Grade 8 should have acquired a wide-ranging knowledge and the experience of the various styles and types of performance covered by the syllabus. A course of study based on this syllabus is intended to provide: an assessment system equipping candidates with added-value to enhance career routes, educational opportunities and decision-making a balanced combination of performing skills and the supporting knowledge and understanding opportunities for learning and assessment that are creatively challenging opportunities for mastery learning that are structured and directly related to the repertoire published for each grade candidates with the basis for study and practice to develop relevant and usable skills and concepts 2

5 1.2 Syllabus validity This syllabus is valid for steps, grades, performance awards, performance diplomas and duet exams in music theatre from Spring 2019 until Winter The syllabus will remain valid until the end of the Summer 2019 exam session, giving a two-session overlap. 1.3 Changes to the syllabus Handbooks Graded handbooks are available for steps and grades. Candidates for these exams must perform at least one song from the relevant graded book and bring an original, printed copy to the exam. Performance The requirement to introduce each song prior to performance now applies to all grades. At Grade 7, a section of spoken libretto is to be included within the performance. The performance specifications and component weightings have been revised for Grades 2 to 7. Discussion The discussion topics have been revised for steps and grades. At Grades 3 to 5 the discussion is now worth 10% of the available marks. 1.4 Exam entry Exam dates, locations and fees Details of exam dates, locations, fees and how to book an exam are available on our website: lcme.uwl.ac.uk Age groups Step and graded examinations These are open to all and there are no minimum age restrictions, however it is unlikely that candidates below the age of 12 will possess the musical maturity for success at Grades 6 to 8. Diplomas These are open to all and there are no minimum age restrictions, however it is unlikely that candidates below certain ages will possess the degree of musical and interpretative maturity required for success. Recommended minimum ages are as follows: DipLCM 16, ALCM 17, LLCM 18, FLCM 19 Requirements for prior learning Examinations are open to all and there are no minimum age restrictions. There are no prerequisites required for entering any step or graded exam; candidates can enter the graded system at any level provided they have the required knowledge, skills and understanding. For ALCM, LLCM and FLCM performance diploma prerequisites see Section 7: Performance diplomas: requirements. 3

6 Diploma exam centres Within the UK the DipLCM may be taken at any centre, and is examined by one examiner. ALCM, LLCM and FLCM diplomas may only be taken at a diploma centre, and are normally examined by two examiners. Arrangements outside the UK may sometimes be more flexible. Please contact LCM Examinations or visit the website for details of your nearest appropriate centre. Reasonable adjustments and special considerations Information on assessment, examination and entry requirements for candidates with specific needs is published in the Equality of Opportunity, Reasonable Adjustment and Special Consideration policy available on our website. 1.5 Exam durations Steps 1 and 2 Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8 10 mins 10 mins 10 mins 15 mins 20 mins 20 mins 25 mins 25 mins 30 mins DipLCM in Performance ALCM in Performance LLCM in Performance FLCM in Performance 45 mins* 65 mins* 75 mins* 70 mins * DipLCM, ALCM and LLCM durations include writing-up time for examiners and preparation time for the quick study. 1.6 Assessment and results Marking Qualifications are awarded by University of West London Qualifications (UWLQ). Exams are conducted by trained external examiners and are held at approved centres in the UK and overseas. Candidates will be assessed on their technical accomplishment, interpretation, knowledge & understanding and communication. In awarding marks, examiners will take into account the extent to which each of these assessment domains is demonstrated within the individual exam components. A Pass in each individual exam component is not required to pass overall. Diploma awards For DipLCM, ALCM and LLCM diplomas, candidates must attain an overall minimum mark of 75% in order to pass the examination. In the case of FLCM, both components must be passed in order to qualify for an award, each being assessed as Approved or Not Approved. Candidates who successfully complete a diploma are permitted to append the letters DipLCM, ALCM, LLCM or FLCM, as appropriate, to their name. Balance between music and drama We recognise that there are singing actors and acting singers. These examinations will take into consideration the overall performance without undue bias towards either acting or singing. By the 4

7 same token, however, neither of the disciplines will be overlooked in the formulation of the examiner s assessment, and evidence of the progressive development of secure techniques, both vocal and dramatic, will be expected. Performances are assessed holistically, but within this framework, examiners will award approximately half of the available marks for vocal performance, and the other half for dramatic performance. Issue of results A written report will be compiled for each examination. Candidates will be informed of the result of examinations as soon as possible. Results are available online within days and will be sent by post not later than four weeks after the examination date. Certificates for successful candidates are normally dispatched within eight weeks of the date of the examination, but very often they will be received sooner than this. This time is necessary to ensure that all results are properly standardised and have been checked by LCM Examinations. Repeats of examinations Where a candidate is not able to reach the minimum standard for a pass in an examination, application for re-examination is permitted, upon payment of the current entry fee. All components must be completed again on re-examination, with the exception of the FLCM diploma. FLCM in Performance If one of the two components is assessed as Approved, and the other Not Approved candidates may carry forward the successful component. Where programme notes are carried forward, the performance programme must be unchanged from the previous examination. Programme notes which have been previously approved do not need to be brought to the examination. Programme notes may be resubmitted at any time directly to LCM Examinations for re-examination, accompanied by an entry form and the current fee. Candidates must complete both components within a 3-year period in order to be awarded the qualification. Enquiries, complaints and appeals Information on how to make an enquiry, complaint or appeal is published in the Enquiries and Appeals policy and the Complaints Procedure documents available on our website. 1.7 Exam regulations Full details of all general exam regulations are published in the Regulations and Information document available on our website. 5

8 2. Exam guidance 2.1 Repertoire and programme planning LCM Publications LCM publishes handbooks for step and graded music theatre exams. Candidates must perform at least one song from the relevant handbook and an original, printed copy must be brought to the exam. Additional repertoire guidance A list of suggested additional repertoire may be found in Section 10: List of suggested repertoire. Advice on the suitability of repertoire not listed in this syllabus is available from the Chief Examiner by contacting LCM Examinations. Programme planning At all levels, it is essential that candidates present a balanced and well-rounded programme, incorporating contrast of style and mood, and, at higher grades and diplomas, genre. Genres The following genres are acceptable. It is essential that all items are presented in a clearly defined dramatic context. Musical theatre. Opera. Although any type of opera is acceptable in the examination, it is assumed that most candidates will select from the repertoire of 18th, 19th and early 20th century light opera, comic opera, opéra comique or opera buffa (Gay s Beggar s Opera, Mozart s Magic Flute, Bizet s Carmen, Offenbach, J Strauss, Gilbert & Sullivan, Lehar etc). Victorian or Edwardian parlour or supper-room music. 19th or early 20th century music hall, variety and vaudeville. Revue (Flanders & Swann, Beyond the Fringe, Tom Lehrer, Joyce Grenfell etc). Items sung in a cabaret style. These might include jazz standards or other appropriate material, sung in the style of Marlene Dietrich, Edith Piaf, Ute Lemper, Frank Sinatra, Jamie Cullum etc. Songs from film or television. This category implies songs which form an integral part of dramatic narratives in these media, rather than songs which have simply been performed on film or TV, or used as part of the soundtrack. Alterations to repertoire Cuts may be made at steps and lower grades (Grades 1 to 5) in order for the programme to remain within the set times. If cuts are made, the version of the song which is performed in the exam must show musicality and balance. At Grades 6 to 8 and diplomas songs should be presented without cuts, though cabaret and revue numbers may be arranged to suit the performer. 6

9 Transposing songs The keys of pieces may be changed if necessary in order to accommodate vocal range and/or to protect the voice from strain. Some music, such as opera and operetta, however, should not be transposed (Adele s Laughing Song from Die Fledermaus, for example, is specifically a high coloratura aria). Pronunciation, accents and language Extracts of libretto at Grade 7 and above should be performed in character. It is expected that characterisation in both spoken libretto and songs will involve appropriate accents and pronunciation. Pieces will normally be performed in English and there is no requirement that another language is used (except LLCM diploma). However, candidates may perform in another language if they wish. Where this is the case, translations into English must be provided. It is recognised that a number of contemporary songs contain expletives. While LCM Examinations does not prohibit their use in exams, younger candidates are asked to adopt a sensitive approach to this matter. Lyrics may be adapted where feasible, and where this does not significantly affect the impact of the song. 2.2 The presentation of the performance Performing from memory All performances (except the sight reading at Grade 8 and the quick study at DipLCM, ALCM and LLCM) must be from memory. However, original published editions of all songs performed must be available for the examiner s reference. Copies of libretto extracts are not required. Introducing the songs Items must be introduced as part of the overall performance for all grades. It is not expected that introductions will be delivered in character. Information given in the introduction should include the title of the number, the show from which it is taken and its composer/lyricist. Additional information may include where/when the show was originally performed and which artist made the song famous. Performing with an audience FLCM recitals may take place in front of an audience, provided that this has been agreed in advance with the Chief Examiner and that this does not affect the normal examination procedure (intervals, breaks and the use of a compère are not permitted). Song context Songs must be presented and performed with regard for the context of the shows from which they are taken (where appropriate). Where there is no definable character for a song you should at least be aware of the kind of performer which is being projected through the song. Accompaniment Performing with an accompanist It is the responsibility of each candidate to provide a competent accompanist or accompaniment, and the necessary music. The playing of the accompaniment must be adequate to enable the examiners to make 7

10 their assessment without the distraction of making unnecessary allowances. An accompanist will only remain in the room for the portion of the examination for which they are required. A piano, electronic keyboard, guitar or other appropriate instrument may be used to accompany the pieces. Performing with a backing track If using a backing track, the track must not contain a vocal part which doubles the main vocal line of the song. However, it may contain backing vocals as a harmonisation or counter-melody to the main vocal line. Dance and movement It is recognised that candidates with a wide range of skills and principal studies may enter for these examinations: some are principally singers, some dancers, some actors. Dance and movement are both encouraged and expected, and credit will be given for appropriate dance and other movement which is in context and enhances the performance of the pieces. However, movement should not obstruct the performance by being in any way superfluous it should always serve the purpose of enhancing the performance. 2.3 Costume and props General guidelines The use of costume and props is encouraged, and credit will be given for this where the effect of the performance and characterisation is enhanced. An impression of costume (a hat, shawl, jacket, etc) is expected as an aid to performance. Where costume is not employed, comfortable, non-restrictive clothing (rehearsal blacks or performance dress) is suggested. Any props must be easily accessible and used to enhance the performance as appropriate. Marks will not be deducted where costume or props are not employed. Costume changes Candidates must not leave the examination room between songs. Any costume changes must be such that they can be made quickly and unaided, in the presence of the examiner, with no potential for embarrassment to either candidate or examiner. A screen may be used as long as it does not interfere with the space, though this facility may not be provided at every venue, and candidates are advised to make appropriate arrangements with the local representative. Costume change times must be included in the length of the programme as detailed for each grade. If considered necessary, the discreet presence of a chaperone is acceptable, if agreed in advance with the centre representative and the Chief Examiner. 2.4 Written programmes A written programme is required at all grades and diploma levels. The minimum requirement is a list of songs, the shows from which they are taken (where appropriate), composers, lyricists and dates. Programme notes are not required (except at FLCM), but may be included at the candidate s discretion. 8

11 2.5 Spoken libretto (Grades 7 8 and diplomas) Extracts of libretto may be taken from any place in the show and may be adapted for examination purposes. Adaptation may involve speaking the part of more than one character, shortening, or (within reason) extending a portion of libretto with new material. Songs which include portions of spoken text as an integral part of the song (for example, the song Nothing from A Chorus Line) can be taken as fulfilling the requirement for performing the spoken libretto. The passage of spoken libretto can also be an original piece of text, written specifically for the exam. 2.6 Practical advice Candidates are advised to check the extent of space available for performance in the examination room in advance with the centre representative, if they are not familiar with the examination venue. Candidates may also wish to check other details such as availability of chairs / tables, the presence of a hard floor covering etc. 9

12 3. Summary of exam structure 3.1 Step and graded exams Component 1: Performance At Step 1 to Grade 2 candidates perform two songs, at Grade 3 to 5 three songs, and at Grade 6 to 8 four songs. At Grades 3, 4 and 5 there is a requirement to perform at least one song written before At all levels at least one piece must be selected from the relevant LCM Music Theatre Handbook for Component 2: Sight Reading (Grade 8 only) Candidates will be asked to read aloud at sight a piece of libretto. Up to one minute s preparation time will be allowed to study and try out parts of the test. Component 2 (Component 3 at Grade 8): Discussion Candidates will be engaged in a short discussion with the examiner. The number of questions asked, and the content of the questions, may differ from candidate to candidate, however the prime focus will always be the music performed in the performance component of the exam. Component weightings Performance Sight Reading Discussion Steps 1 and 2 90% 10% Grades 1 to 5 90% 10% Grades 6 and 7 80% 20% Grade 8 60% 20% 20% 3.2 Performance diplomas (DipLCM, ALCM, LLCM) Component 1: Quick Study Candidates will be asked to perform a short music theatre song. At ALCM and LLCM this will also include a short section of libretto, leading directly into the song. Candidates will be given 15 minutes to prepare the quick study, with their accompanist. Component 2: Performance Candidates perform a varied programme of songs and extracts of libretto, demonstrating a wide and diverse range of music theatre genres. Component 3: Presentation (LLCM only) Candidates will be required to give a short presentation on an area of musical theatre, chosen from a list of topics given in the syllabus. 10

13 Component 3 (Component 4 at LLCM): Discussion Candidates will be engaged in a discussion with the examiner. The number of questions asked, and the content of the questions, may differ from candidate to candidate, however the prime focus will always be the music performed in the performance component of the exam. 3.3 FLCM in Performance Component 1: Performance Candidates perform a varied programme of songs and extracts of libretto, demonstrating a wide and diverse range of music theatre genres. Component 2: Programme notes Candidates provide programme notes for the items performed in component 1, containing a commentary on the pieces being performed, including both background and analytical information. 3.4 Performance awards Candidates submit either a video file or DVD of their performance rather than attending an examination venue. There are eight levels, each equivalent to the standard of the graded exams (Performance Award Level 3 is equivalent to Grade 3). Performances are assessed by trained LCM examiners, using the same standards and criteria as are used for graded exams (Section 6: Step and graded examinations: assessment), offering candidates a reliable and independent assessment of their performance standard, while benefitting from the flexibility allowed by the submission process. Candidates are awarded an overall mark for their performance. Entry details Candidates may enter for performance awards at any time; the standard closing dates are not applicable. To enter, candidates either: visit lcme.uwl.ac.uk and click on the Upload Work link. Here you can complete the entry form, pay the exam fee and upload the video file (files can be avi, flv, wmv, mov or mp4 format and should not exceed 30MB) submit one copy of the DVD to the LCM Examinations office, accompanied by the Performance Awards entry form (including declaration) and the current entry fee (as listed on the entry form) Requirements Requirements for performance awards are exactly the same as the requirements for the performance component of the equivalent graded examination. In addition, please note the following requirements: Candidates must provide details of the songs they are performing; this information should be provided in Section 4 of the entry form or the online form. Candidates are not required to submit scores of any songs performed. Each song must be recorded in a single, uninterrupted take. 11

14 1. Performances must be recorded using a static camera, which should be positioned in such a way as to show the performer clearly. 2. The microphone must be of sufficient quality to allow assessment of all aspects of the performance, including tone quality, dynamic range etc. 3. The microphone should be positioned in such a way as to ensure a good sound balance between candidate and accompanist (if applicable). 4. If uploading a file to the website, the file must be either avi, flv, wmv, mov or mp4 format and should not exceed 30MB. The file must be labeled clearly with the candidate s name. 5. If submitting a DVD, the disc must be in a format which will play on a standard DVD player and labeled clearly with the candidate s name. Candidates are advised to retain a copy in case of damage during transit. The DVD will not be returned. 6. The entry process includes a declaration indicating that the performances were given by the candidate. This must be signed and dated by the candidate and by an adult witness (who may be the candidate s teacher). Assessment, awarding and reporting The procedure for issuing results and certificates for performance is the same as for graded examinations. Please note that the performance award syllabus is not regulated. 3.5 Duet examinations Duet examinations in music theatre are offered as follows: Duet exam level Equivalent standard Number of songs required Level 1 Grade 1 2 Level 2 Grade 2 2 Level 3 Grade 3 3 Level 4 Grade 4 3 Level 5 Grade 5 3 Level 6 Grade 6 4 Level 7 Grade 7 4 Level 8 Grade 8 4 Candidates should present a contrasted and balanced programme of songs. Repertoire chosen should be suitable for duet performance. The programme will be assessed according to the criteria for the equivalent grade (Section 6: Step and graded exams: assessment). Candidates will also be required to engage in discussion with the examiner, according to the requirements set for the equivalent grade. 12

15 Assessment, awarding and reporting Levels 1 and 2 Song 1 Song 2 Discussion 45 marks 45 marks 10 marks Levels 3, 4 and 5 Song 1 Song 2 Song 3 Discussion 30 marks 30 marks 30 marks 10 marks Levels 6, 7 and 8 Song 1 Song 2 Song 3 Song 3 Discussion 20 marks 20 marks 20 marks 20 marks 20 marks The procedure for issuing results and certificates for duet exams is the same as for graded examinations. Please note that the duet syllabus is not regulated. 13

16 4. Grade descriptions The following pages give an overview of the standard required at each grade and guidance on the suggested development of vocal technique. Reference to any particular method, such as Estill Voice Craft, is not intended to imply that employment of the method is required simply that a range of techniques may be used to achieve an effective performance. It is hoped that these guidelines demonstrate the importance of sound vocal technique, whether this is the candidate s primary study or secondary to acting. Steps 1 and 2, Grade 1 Grade overview The material selected for these levels should be short enough to allow candidates to maintain concentration to the end. Content should be simple and straightforward, usually relating to familiar subjects and contexts, real or imagined. The music and librettos should be simple and accessible, conveying meaning clearly and unambiguously. Candidates should perform accurately, competently and confidently, demonstrating an understanding of the mood and meaning of the songs. Recommended vocal technique Candidates should sing with a natural core sound within a comfortable range and not too low as this may cause problems later on. It is expected that breath support will be adequate to sustain the literary needs of the words, and this will demonstrate the beginnings of breath control and projection as dictated by the punctuation and word emphasis. Candidates are expected to sing in tune and to articulate both vowels and consonants clearly. The dynamic range may not necessarily be very great at this stage but some variety of expression is expected. Over-singing to produce volume must be discouraged clarity of diction will aid projection. Candidates are expected to demonstrate pleasure in singing, along with security of pulse and rhythm and a rehearsed familiarity with the accompaniment. Grades 2 and 3 Grade overview The material selected for these grades should be of sufficient length to allow candidates to show their ability to establish and sustain their performance and interpretation. Content should begin to transcend easily recognisable events and themes so that candidates can begin to explore emotions, moods and atmosphere outside their immediate experience (imagined people and places, other periods etc). The music and librettos will comprise an extensive expressive range, offering some opportunity for interpretative choices. In addition to the performance requirements for Grade 1 candidates should demonstrate a sense of understanding and communication, with appropriate expression and movement. In discussion, they should demonstrate some understanding of the material performed and its preparation. Recommended vocal technique Candidates will be expected to demonstrate good posture and that they are relaxed when singing (to avoid body tensions being transmitted to the larynx). Facial muscles should be active, without tension. The vocal range should be extended to around a 10th again avoiding low pitches, and the tonal quality should be well focused and clear. It is accepted that teenage boys may not have clear tone throughout the range offered. The changes in vocal quality over the break from middle to upper register will be being dealt with as part of the developing technique. Breathing should be disciplined and planned, demonstrating 14

17 a growing awareness of, and technique in, the application of intercostal diaphragmatic breathing. The breath will be sustained through extended vowels; the tongue and lips shaping the sound and the pharynx and mouth allowing it to resonate. Consonants should be well articulated but should not interfere with the legato line of lyrical music. Grades 4 and 5 Grade overview The material selected for these grades should be substantial enough to allow for a significant degree of communication, both in terms of composers and librettists intentions and candidates interpretation and performance. Content should be sufficiently complex to provide some contrast and range (in terms of theme, character, situation and mood etc), and should provide opportunities for candidates to begin to explore more universal themes. There will be stylistic variety of music and language, and a degree of subtlety of vocabulary and melody should provide opportunities for a variety of approaches and interpretative choices. In addition to the performance requirements for Grades 1 to 3, candidates should demonstrate sound vocal development, a good sense of characterisation, and effective use of movement. They should demonstrate an understanding of the background and context of the repertoire performed, and of its content and preparation. Recommended vocal technique Candidates are expected to be able to apply intercostal diaphragmatic breathing technique to the extent that inhalation is silent, the lower rib cage expanding at the front, sides and back so that tension is avoided. Even with sound technique, low range chest singing may be best avoided at this stage in a student s vocal development. Pieces may be transposed to bring them into a healthy comfortable range. It is expected that diction will be clear with good onset, which avoids sharp glottal or breathy attack, and that candidates will be able to break phrases without breath or sharp consonants. By now candidates are expected to be employing vocal variety (vocal qualities, as termed in Estill Voice Craft, speech, tilt, twang, and sob may be evident; classical teachers may be more familiar with the terms Parlando, Sprechstimme, high and low larynx). Accents, where appropriate, will contribute to the interpretation of the chosen songs. Candidates should understand and demonstrate in performance the effect of the diphthong on sustained sound. Grades 6 to 8 Grade overview The material selected for these grades should be drawn from the work of significant composers and librettists, past and present. The programme should be selected in line with some acknowledged principles, for example coverage of different genres and styles, or coherence/contrast of theme, setting, character, or mood. Overall length and demand will be sufficient to enable a variety and range of presentation to be demonstrated and sustained. Content should be concerned with subjects of substance, enabling the candidate to engage with complex emotions and universal themes. It will require analysis and reflection in the preparation, and present challenging technical requirements in terms of vocal and dramatic range. The choice of music and language will demand considerable inferential understanding and thoughtful interpretation to reflect subtleties of meaning. In addition to the performance requirements for Grades 1 to 5, candidates should demonstrate technical security in, and full integration of, vocal and dramatic skills. 15

18 They should demonstrate a wide-ranging knowledge of musical theatre, and speak with knowledge and understanding about the various aspects of performance, presentation and interpretation. Recommended vocal technique These grades should not be attempted unless there is security of vocal technique for the chosen programme. The choice of repertoire is very important at this stage and must reflect a range of vocal variety and technique. The candidate must understand and demonstrate in performance: good postural alignment, breath management and good phonation. Candidates will be able to sing through their breaks without loss of vocal quality (a 2-octave range is desirable by Grade 7). At this level the technique becomes more closely allied to the interpretative skill of the candidate. If the performance of the song is successful then the technique is usually equal to its needs. Adult singers may be adept at belting in early grades. As a young voice develops and technical prowess grows, the emotional content of the song will frequently cause the singer to produce a strong middle register mix which is safe when well supported by the body and breath. 16

19 5. Step and graded exams: requirements Step 1 Component 1: Performance 90 marks Performance of two contrasting songs from memory; at least one of which must be taken from the songs included within the Music Theatre Handbook : Steps 1 and 2 (listed below). An original, printed copy of the handbook must be brought to the exam. The own choice song may be a nursery rhyme or singing game. The total performance time, including the break between the songs, must not exceed 6 minutes. Title Little April Shower Bambi Everybody Wants to Be a Cat The Aristocats Girls and Boys Come Out to Play London Bridge is Falling Down Songwriters Larry Morey and Frank Churchill Floyd Huddleston and Al Rinker Anon Anon Component 2: Discussion Discuss with the examiner: what the songs are about the mood of each song (happy, sad etc) 10 marks Step 2 Component 1: Performance 90 marks Performance of two contrasting songs from memory; at least one of which must be taken from the songs included within the Music Theatre Handbook : Steps 1 and 2 (listed below). An original, printed copy of the handbook must be brought to the exam. The total performance time, including the break between the songs, must not exceed 6 minutes. Title Winnie the Pooh Winnie the Pooh and the Honey Tree The Bare Necessities The Jungle Book In My Own Little Corner Cinderella You ve Got a Friend in Me Toy Story Songwriters Sherman Brothers Terry Gilkyson Rodgers and Hammerstein Randy Newman 17

20 Component 2: Discussion Discuss with the examiner: what the songs are about the characters who sing the songs the mood of each song (happy, sad etc) 10 marks Grade 1 Component 1: Performance 90 marks Performance of two contrasting songs from memory; at least one of which must be taken from the songs included within the Music Theatre Handbook : Grade 1 (listed below). An original, printed copy of the handbook must be brought to the exam. The total performance time, including the break between the songs, must not exceed 10 minutes. Each piece must be introduced with the name of the song, the show from which it is taken (where appropriate) and its composer / lyricist. Additional information may include where / when the show was originally performed and which artist made the song famous. Candidates must provide a written programme. The minimum requirement is a list of songs, the shows from which they are taken (where appropriate), composers, lyricists and dates. Programme notes are not required but may be included at the candidate s discretion. Title Any Old Iron Music hall My Favorite Things The Sound of Music Little People Les Misérables Johnny One Note Babes in Arms Chim Chim Cher-ee Mary Poppins Do You Want to Build a Snowman? Frozen Songwriters Charles Collins, Fred Terry and AE Sheppard Rodgers and Hammerstein Boublil and Schönberg Rodgers and Hart Sherman Brothers Kristen Anderson-Lopez and Robert Lopez Component 2: Discussion Discuss with the examiner any or all (at the examiner s discretion) of the following: what the songs are about the characters who sing the songs the mood of each song (including the element of contrast between the songs) 10 marks 18

21 Grade 2 Component 1: Performance 90 marks Performance of two contrasting songs from memory; at least one of which must be taken from the songs included within the Music Theatre Handbook : Grade 2 (listed below). An original, printed copy of the handbook must be brought to the exam. The total performance time, including breaks between songs, must not exceed 10 minutes. Each piece must be introduced with the name of the song, the show from which it is taken (where appropriate) and its composer / lyricist. Additional information may include where / when the show was originally performed and which artist made the song famous. Candidates must provide a written programme. The minimum requirement is a list of songs, the shows from which they are taken (where appropriate), composers, lyricists and dates. Programme notes are not required but may be included at the candidate s discretion. Title Once Upon a December Anastasia Round-Shouldered Man The Secret Garden Daisy Bell Music hall I Got the Sun in the Morning Annie Get Your Gun Think Positive Willy Wonka I Do Like to Be Beside the Seaside Music hall Songwriters Stephen Flaherty and Lynn Ahrens Lucy Simon and Marsha Norman Harry Darce Irving Berlin Leslie Bricusse John A Glover-Kind Component 2: Discussion Discuss with the examiner any or all (at the examiner s discretion) of the following: what the songs are about the characters who sing the songs the style and mood of each song 10 marks Grade 3 Component 1: Performance Performance from memory of three songs, including: one song written before 1960 two songs of any style and period 90 marks At least one song must be taken from the Music Theatre Handbook : Grade 3 (listed below). An original, printed copy of the handbook must be brought to the exam. The total performance time, including breaks between songs, must not exceed 12 minutes. 19

22 Each piece must be introduced with the name of the song, the show from which it is taken (where appropriate) and its composer / lyricist. Additional information may include where / when the show was originally performed and which artist made the song famous. Candidates must provide a written programme. The minimum requirement is a list of songs, the shows from which they are taken (where appropriate), composers, lyricists and dates. Programme notes are not required but may be included at the candidate s discretion. Title The Boy I Love is Up in the Gallery Music hall Goodnight My Someone The Music Man What If The Addams Family Don t Dilly Dally on the Way Music hall Good Morning Baltimore Hairspray How Lucky You Are Seussical Songwriters George Ware Meredith Willson Andrew Lippa Charles Collins and Fred W Leigh Shaiman and Wittman Stephen Flaherty and Lynn Ahrens Component 2: Discussion Discuss with the examiner any or all (at the examiner s discretion) of the following: how the programme was chosen what the songs are about the characters who sing the songs the styles and moods of the songs 10 marks Grade 4 Component 1: Performance Performance from memory of three songs, including: one song written before 1960 two songs of any style and period 90 marks At least one song must be taken from the Music Theatre Handbook : Grade 4 (listed below). An original, printed copy of the handbook must be brought to the exam. The total performance time, including breaks between songs, must not exceed 15 minutes. Each piece must be introduced with the name of the song, the show from which it is taken (where appropriate) and its composer / lyricist. Additional information may include where / when the show was originally performed and which artist made the song famous. Candidates must provide a written programme. The minimum requirement is a list of songs, the shows from which they are taken (where appropriate), composers, lyricists and dates. Programme notes are not required but may be included at the candidate s discretion. 20

23 Title I Got Rhythm Girl Crazy Quiet Matilda Almost Nearly Perfect Charlie and the Chocolate Factory Electricity Billy Elliot Six Hours as a Princess Children s Letters to God Don t Let Me Go Shrek The Musical Songwriters George and Ira Gershwin Tim Minchin Shaiman and Wittman Elton John and Lee Hall David Evans and Douglas J Cohen Jeanine Tesori and David Lindsay-Abaire Component 2: Discussion Discuss with the examiner any or all (at the examiner s discretion) of the following: how the programme was chosen the subject matter of the songs the characters who sing the songs the styles and moods of the songs the narrative context of the songs 10 marks Grade 5 Component 1: Performance Performance from memory of three songs, including: one song written before 1960 two songs of any style and period 90 marks At least one song must be taken from the Music Theatre Handbook : Grade 5 (listed below). An original, printed copy of the handbook must be brought to the exam. The total performance time, including breaks between songs, must not exceed 15 minutes. Each piece must be introduced with the name of the song, the show from which it is taken (where appropriate) and its composer / lyricist. Additional information may include where / when the show was originally performed and which artist made the song famous. Candidates must provide a written programme. The minimum requirement is a list of songs, the shows from which they are taken (where appropriate), composers, lyricists and dates. Programme notes are not required but may be included at the candidate s discretion. Title Fascinating Rhythm Lady, Be Good Giants in the Sky Into the Woods Songwriters George and Ira Gershwin Stephen Sondheim 21

24 R.S.V.P Dear Edwina Barbara Song The Threepenny Opera There s a Fine, Fine Line Avenue Q The History of Wrong Guys Kinky Boots Zina Goldrich and Marcy Heisler Kurt Weill and Marc Blitzstein Robert Lopez and Jeff Marx Cyndi Lauper Component 2: Discussion Discuss with the examiner any or all (at the examiner s discretion) of the following: how the programme was chosen the subject matter of the songs the characterisation of the songs the contrasting styles and moods of the songs the narrative and dramatic context of the songs the genre to which each song belongs the name of the composers and librettists of the songs 10 marks Grade 6 Component 1: Performance 80 marks Performance of four songs from memory. These should be drawn from a variety of periods and genres, enabling candidates to exhibit a wide range of performance styles and characterisations. At least one song must be taken from the Music Theatre Handbook : Grade 6 (listed below). An original, printed copy of the handbook must be brought to the exam. The total performance time, including breaks between songs, must not exceed 18 minutes. Each piece must be introduced with the name of the song, the show from which it is taken (where appropriate) and its composer / lyricist. Additional information may include where / when the show was originally performed and which artist made the song famous. Candidates must provide a written programme. The minimum requirement is a list of songs, the shows from which they are taken (where appropriate), composers, lyricists and dates. Programme notes are not required but may be included at the candidate s discretion. Title Finishing the Hat Sunday in the Park with George Blow, Gabriel Blow Anything Goes I Am Aldolpho The Drowsy Chaperone My New Philosophy You re a Good Man Charlie Brown The Fire Within Me Little Women Songwriters Stephen Sondheim Cole Porter Lisa Lambert and Greg Morrison Andrew Lippa Jason Howland and Mindi Dickstein 22

25 You ll Be Back Hamilton Lin-Manuel Miranda Component 2: Discussion 20 marks Discuss with the examiner any or all (at the examiner s discretion) of the following: how the programme was chosen the subject matter of the songs the characterisation of the songs the contrasting styles and moods of the songs the narrative and dramatic context of the songs the genre to which each song belongs the composer and librettists of the songs (their names and at least one other musical written by them, individually or collectively) the vocal and dramatic skills and techniques employed in order to perform the songs a critical evaluation of the candidate s performance, including aspects which went well, and aspects which could have been improved Grade 7 Component 1: Performance 80 marks Performance of four songs from memory. These should be drawn from a variety of periods and genres, enabling candidates to exhibit a wide range of performance styles and characterisations. At least one song must be taken from the Music Theatre Handbook : Grade 7 (listed below). An original, printed copy of the handbook must be brought to the exam. The total performance time, including breaks between songs, must not exceed 18 minutes. Each piece must be introduced with the name of the song, the show from which it is taken (where appropriate) and its composer / lyricist. Additional information may include where / when the show was originally performed and which artist made the song famous. Candidates must provide a written programme. The minimum requirement is a list of songs, the shows from which they are taken (where appropriate), composers, lyricists and dates. Programme notes are not required but may be included at the candidate s discretion. Spoken libretto One of the songs performed must include, or be preceded or followed by, a section of spoken libretto, in character (the same character as the song), of approximately 30 seconds to 1 minute. Further information is available in Section 2.5: Spoken Libretto (Grades 7 8 and Diplomas). Title Send in the Clowns A Little Night Music Something s Coming West Side Story Songwriters Stephen Sondheim Leonard Bernstein and Stephen Sondheim 23

26 Music of the Night Phantom of the Opera Quiet Thirteen Stories Down I Love Betsy Honeymoon in Vegas When He Sees Me Waitress Andrew Lloyd Webber and Charles Hart Jonathan Reid Gealt Jason Robert Brown Sara Bareilles Component 2: Discussion 20 marks Discuss with the examiner any or all (at the examiner s discretion) of the following: how the programme was chosen the subject matter of the songs the characterisation of the songs the contrasting styles and moods of the songs the narrative and dramatic context of the songs the genre to which each song belongs the composer and librettists of the songs (some basic biographical knowledge is required) the vocal and dramatic skills and techniques employed in order to perform the songs how the songs and spoken libretto were learnt and prepared, including any problems and how these were overcome a critical evaluation of the candidate s performance, including aspects which went well, and aspects which could have been improved Grade 8 Component 1: Performance 60 marks Performance of four songs from memory. These should be drawn from a variety of periods and genres, enabling candidates to exhibit a wide range of performance styles and characterisations. At least one song must be taken from the Music Theatre Handbook : Grade 8 (listed below). An original, printed copy of the handbook must be brought to the exam. The total performance time, including breaks between songs, must not exceed 20 minutes. Each piece must be introduced with the name of the song, the show from which it is taken (where appropriate) and its composer / lyricist. Additional information may include where / when the show was originally performed and which artist made the song famous. Candidates must provide a written programme. The minimum requirement is a list of songs, the shows from which they are taken (where appropriate), composers, lyricists and dates. Programme notes are not required but may be included at the candidate s discretion. Spoken libretto One of the songs performed must include, or be preceded or followed by, a section of spoken libretto, in character (the same character as the song), of approximately 30 seconds to 1 minute. Further information is available in Section 2.5: Spoken Libretto (Grades 7 8 and Diplomas). 24

27 Title Gethsemane Jesus Christ Superstar Pity the Child Chess The Girl in 14G Let Yourself Go By the Sea Sweeney Todd Still Hurting The Last Five Years Run Away with Me The Mad Ones Get Out and Stay Out 9 to 5 Waving Through a Window Dear Evan Hansen Songwriters Andrew Lloyd Webber and Tim Rice Benny Andersson, Björn Ulvaeus and Tim Rice Jeanine Tesori and Dick Scanlan Stephen Sondheim Jason Robert Brown Kerrigan and Lowdermilk Dolly Parton Pasek and Paul Component 2: Sight Reading 20 marks Candidates will be asked to read aloud at sight a piece of libretto or dramatic prose. The extract will contain two speaking parts, of which one will be taken by the examiner, the other by the candidate. The examiner will instruct the candidate which role to read. Candidates are not expected to perform from memory, and may read from the text while they perform. Preparation time of approximately 1 minute will be given, during which time the candidate may try out short sections of the text if they wish. For practice purposes, a book of sample sight reading tests for Grade 8 Music Theatre is available: Music Theatre Specimen Tests: Grade 8 and Diploma (LCM) Component 3: Discussion 20 marks Discuss with the examiner any or all (at the examiner s discretion) of the following: how the programme was chosen the subject matter of the songs the characterisation of the songs the contrasting styles and moods of the songs the narrative and dramatic context of the songs the genre to which each song belongs the composer and librettists of the songs the vocal and dramatic skills and techniques employed in order to perform the songs how the songs and spoken libretto were learnt and prepared, including any problems and how these were overcome a critical evaluation of the candidate s performance, including aspects which went well, and aspects which could have been improved the candidate s response to the sight reading passage wider background knowledge of musical theatre, particularly in relation to the programme performed a through understanding of relevant vocal and dramatic techniques, stagecraft and performance skills 25